David Bowie - Heroes (1990) - vinyl

#davidbowie #heroes #artrock This audio-video recording was made with: Sony DSC-W270 Cybershot Lenco L-90 with Ortofon OM 5E Numark C3 Professional Focusrite Scarlet2i4 Audacity 2.3.2 This track is from David Bowie's compilation vinyl album "ChangesBowie" released at 1990 in Greece by EMI Records (EMI ‎– 064 7941811). lyrics I, I will be king And you, you will be queen Though nothing will drive them away We can beat them, just for one day We can be heroes, just for one day And you, you can be mean And I, I'll drink all the time 'Cause we're lovers, and that is a fact Yes, we're lovers, and that is that Though nothing will keep us together We could steal time, just for one day We can be heroes forever and ever What'd you say? I, I wish you could swim Like the dolphins, like dolphins can swim Though nothing, nothing will keep us together We can beat them forever and ever Oh, we can be heroes, just for one day I, I will be king And you, you will be queen Though nothing will drive them away We can be heroes, just for one day We can be us, just for one day I, I can remember (I remember) Standing, by the wall (by the wall) And the guns shot above our heads (over our heads) And we kissed as though nothing could fall (nothing could fall) And the shame was on the other side Oh, we can beat them, forever and ever Then we could be heroes, just for one day We can be heroes We can be heroes We can be heroes Just for one day We can be heroes We're nothing, and nothing will help us Maybe we're lying, then you better not stay But we could be safer, just for one day The cliché about David Bowie is that he was a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated a remarkable skill for perceiving musical trends at his peak in the '70s. After spending several years in the late '60s as a mod and as an all-around music hall entertainer, Bowie reinvented himself as a hippie singer/songwriter. Prior to his breakthrough in 1972, he recorded a proto-metal record and a pop/rock album, eventually redefining glam rock with his ambiguously sexy Ziggy Stardust persona. Ziggy made Bowie an international star, but he wasn't content to continue to churn out glitter rock. By the mid-'70s, he'd developed an effete, sophisticated version of Philly soul that he dubbed "plastic soul," which eventually morphed into the eerie avant-pop of 1976's Station to Station. Shortly afterward, he relocated to Berlin, where he recorded three experimental electronic albums with Brian Eno. At the dawn of the '80s, Bowie was still at the height of his powers, yet following his blockbuster dance-pop album Let's Dance in 1983, he slowly sank into mediocrity before salvaging his career in the early '90s. Even when he was out of fashion in the '80s and '90s, it was clear that Bowie was one of the most influential musicians in rock, for better and for worse. Each one of his phases in the '70s sparked a number of subgenres, including punk, new wave, goth rock, the new romantics, and electronica. Few rockers have ever had such lasting impact. David Jones began performing music when he was 13 years old, learning the saxophone while he was at Bromley Technical High School; another pivotal event happened at the school, when his left pupil became permanently dilated in a schoolyard fight. Following his graduation at 16, he worked as a commercial artist while playing saxophone in a number of mod bands, including the King Bees, the Manish Boys (which also featured Jimmy Page as a session man), and Davey Jones & the Lower Third. All three of those bands released singles, which were generally ignored, yet he continued performing, changing his name to David Bowie in 1966 after the Monkees' Davy Jones became an international star. Over the course of 1966, he released three mod singles on Pye Records, which were all ignored. The following year, he signed with Deram, releasing the music hall, Anthony Newley-styled David Bowie that year. Upon completing the record, he spent several weeks in a Scottish Buddhist monastery. Once he left the monastery, he studied with Lindsay Kemp's mime troupe, forming his own mime company, the Feathers, in 1969. The Feathers were short-lived, and he formed the experimental art group Beckenham Arts Lab in 1969. See more at: https://www.allmusic.com/artist/david...